Showing posts with label Remix. Show all posts
Showing posts with label Remix. Show all posts
Thursday, April 22, 2010
RiP! A Remix Manifesto (Feature Film)
Filmmaker Brett Gaylor explores issues of copyright in the information age, mashing up the media landscape of the 20th century and shattering the wall between users and producers.
Wednesday, April 7, 2010
AeroDynamic and Planet Rock Juggle Performance + Tutorial
Check out that DJ and Sampler controller! ARCADE BUTTONS!
The 2 mp3's used in this video are available with cue points in this post:
http://www.djtechtools.com/2009/11/04...
The mapping for this controller is also available here:
http://www.djtechtools.com/midi-map/
The Custom VCI-100SE Arcade Controller by Dj TT $849.00
http://techtools.myshopify.com/products/vci-100-arcade-buttons
More great stuff at http://www.djtechtools.com/
The 2 mp3's used in this video are available with cue points in this post:
http://www.djtechtools.com/2009/11/04...
The mapping for this controller is also available here:
http://www.djtechtools.com/midi-map/
http://techtools.myshopify.com/products/vci-100-arcade-buttons
More great stuff at http://www.djtechtools.com/
Monday, March 1, 2010
DJ Doubledown Tandino - Retro Reinvented - The Final Show - Monday March 1st, 2010
March 1st, 2010 - Starting at 12pm SLT(extended party)
DJ Doubledown Tandino presents the final RETRO REINVENTED music event at Muse Isle Connection.
Today: The 80s! REMIXED!
SLURL in Second Life to Muse Isle Connection:
http://slurl.com/secondlife/Muse%20Isle%20NorthWest/59/39/25
RETRO REINVENTED is a live DJ mix show where DJ Doubledown Tandino incorporates retro hits with modern beats, remixing, and rejuvenation.
Brought to you by RENDEZVOUS
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Monday, January 18, 2010
Retro Reinvented with DJ Doubledown Tandino at Muse Isle - Mondays at Noon (SLT)
DJ Doubledown Tandino presents RETRO REINVENTED
at Muse Isle Connection.
RETRO REINVENTED is a live DJ mix show where DJ Doubledown Tandino incorporates vintage and retro classic hits with modern chillout and triphop beats, remixing, and rejuvenation.
(A PG and office-friendly broadcast)
Mondays: Starts at noon (SLT/PST)
Future shows will include:
1940s-1960s Blue Note Remixed vs Verve Remixed, Retro Jazz Greats, The Rat Pack, Big Band, Swing, Ella Fitzgerald, Nina Simone, Louis Armstrong, Anita ODay, Billie Holiday, Duke Ellington, The Beatles, Led Zepplin, Bob Marley, James Brown, Johnny Cash, The 80s, and more... MODERNIZED... at RETRO REINVENTED
at Muse Isle Arena
Can't make it into Second Life? Tune in to the live audio at: http://www.slmusic.info:8880
(on the stream page, click the "listen" link)
Muse Isle: A gathering of music and minds.
Monday, January 4, 2010
All the Rules of the Music Business Have Changed - A World of Megabeats and Megabytes (NYTimes)
A World of Megabeats and Megabytes
MY 21st century started in 1998, when I got a new toy. It was the Diamond Rio PMP300, a flimsy plastic gadget the size of a cigarette pack. PMP stood for Portable Music Player. It had a headphone jack, and it played a recently invented digital file format: MPEG-1 Audio Layer Three, or MP3.
The Rio’s 32 megabytes of storage held a dozen songs at passable fidelity. Its sound was clearly inferior to a portable CD player; its capacity was comparable to a cassette or two. But the beauty of it was that it didn’t need any CD or cassette inserted, just digital files — copies of songs — loaded from a computer, to be changed at whim. They might come from albums people owned or borrowed; they might come, even back then, from strangers online. The Recording Industry Association of America sued to have the PMP300 taken off the market and failed — the prelude to a decade of lawsuits trying to corral online music.
It was already too late. For those who were willing to be geeky — learning new software, slowly downloading via dial-up — music had forever escaped its plastic containers to travel the Web. The old distribution system was on its way to becoming irrelevant.
READ THE FULL ARTICLE HERE
...Because songs are small chunks of information that many people want, music was the canary in the digital coal mine, presaging what would happen to other art forms as Internet connections spread and sped up. For the old recording business everything went wrong. Sales of CDs have dropped by nearly half since 2000, while digital sales of individual songs haven’t come close to compensating. Movies and television (and journalism too) are now scrambling not to become the next victims of an omnivorous but tight-fisted Internet.
By now, in 2010, we’re all geeks, conversant with file formats and software players. Our cellphone/camera/music player/Web browser gadgets fit in a pocket, with their little LCD screens beckoning. Their tiny memory chips hold collections of music equivalent to backpacks full of CDs. The 2000s were the broadband decade, the disintermediation decade, the file-sharing decade, the digital recording (and image) decade, the iPod decade, the long-tail decade, the blog decade, the user-generated decade, the on-demand decade, the all-access decade. Inaugurating the new millennium, the Internet swallowed culture whole and delivered it back — cheaper, faster and smaller — to everyone who can get online.
For artists of all kinds (with musicians on the front lines) a 21st-century habitat of possibilities and pressures is taking shape — one that demands skills their predecessors forgot or never needed. The art they make can be created, as well as disseminated, faster and more cheaply. But it will also face exponentially more rivals for attention, and many more temptations toward superficiality and sellouts.
READ THE FULL ARTICLE HERE
...Ease of consumption is paralleled by ease of production. The computer is the definitive 21st-century studio, now that do-it-yourself musicians can record professional-sounding tracks onto a laptop in a bedroom. The ubiquitous software ProTools offers endless overdubbing and can put errant musicians back on the beat or tune them up, though it’s not always an improvement when dull robot precision replaces individual quirks.
The cut-and-mix, mashup procedures of hip-hop and disc-jockey culture have only accelerated. Beats from old vinyl discs were foundations of hip-hop back in the 1970s. Now no one needs to track down the physical disc because some aggregator or collector has probably put it online...
READ THE FULL ARTICLE HERE
...And without being able to depend on album sales, musicians’ job descriptions changed. Increasingly it was up to the performers — not their struggling major label if they had one, not the radio stations that had long treated them as disposable — to get themselves noticed. That could mean making silly novelty videos for YouTube, or it could involve what was once considered selling out: placing a song in a commercial, where people could hear it repeatedly (and then track it down online).
Instead of waiting for royalties to trickle in from sales, musicians were happy to get paid upfront for licensing their music to advertisers and to TV and movie soundtracks. A distracted listener was better than none at all.
In the 2010s musicians can look forward to working harder for smaller payoffs. They’re resuming — if they ever really left it behind — their age-old role as troubadours, touring more frequently to make up for disappearing album sales. (Big stars with expiring contracts went independent instead of renewing their major-label commitments, or set up so-called “360 deals” that depend as much on touring and merchandising as on selling albums.)
There are newer demands on them as well: interacting with fans who never had to accept the top-down, broadcast model of the old music business and have come to expect the individualized tone of the Internet. To perform offstage musicians now hone social-networking skills: mastering the blog post, the semi-candid photo, the not too overtly promotional self-promotion, the guarded personal revelation, the clever Tweet. Those with true star ambitions will also have to manage the meta-careers that a little bit of fame now entails, knowing that any time they show their face in public, it can turn up on a photo blog, any interview can be cross-referenced forever, any live performances or television moment might show up on YouTube. The smart ones, like Lady Gaga, already have their costume changes planned.
Musicians and their managers will also be improvising their own routes amid a wilderness of marketing and career strategies...
...One emblematic album for the 2000s was Danger Mouse’s “Grey Album” in 2004, which backed up a cappella raps from Jay-Z’s “Black Album” with finely micro-sliced samples from “The Beatles,” a k a the White Album. All of its sounds, in other words, were recycled; the musicality was in the cleverness of the cut and paste. There was no permission from the Beatles and no official commercial release. The album simply escaped onto the Internet, where it can still be grabbed, earning nothing but good will for the musicians, but ready to play any time.
READ THE FULL ARTICLE HERE
The Rio’s 32 megabytes of storage held a dozen songs at passable fidelity. Its sound was clearly inferior to a portable CD player; its capacity was comparable to a cassette or two. But the beauty of it was that it didn’t need any CD or cassette inserted, just digital files — copies of songs — loaded from a computer, to be changed at whim. They might come from albums people owned or borrowed; they might come, even back then, from strangers online. The Recording Industry Association of America sued to have the PMP300 taken off the market and failed — the prelude to a decade of lawsuits trying to corral online music.
It was already too late. For those who were willing to be geeky — learning new software, slowly downloading via dial-up — music had forever escaped its plastic containers to travel the Web. The old distribution system was on its way to becoming irrelevant.
READ THE FULL ARTICLE HERE
...Because songs are small chunks of information that many people want, music was the canary in the digital coal mine, presaging what would happen to other art forms as Internet connections spread and sped up. For the old recording business everything went wrong. Sales of CDs have dropped by nearly half since 2000, while digital sales of individual songs haven’t come close to compensating. Movies and television (and journalism too) are now scrambling not to become the next victims of an omnivorous but tight-fisted Internet.
By now, in 2010, we’re all geeks, conversant with file formats and software players. Our cellphone/camera/music player/Web browser gadgets fit in a pocket, with their little LCD screens beckoning. Their tiny memory chips hold collections of music equivalent to backpacks full of CDs. The 2000s were the broadband decade, the disintermediation decade, the file-sharing decade, the digital recording (and image) decade, the iPod decade, the long-tail decade, the blog decade, the user-generated decade, the on-demand decade, the all-access decade. Inaugurating the new millennium, the Internet swallowed culture whole and delivered it back — cheaper, faster and smaller — to everyone who can get online.
For artists of all kinds (with musicians on the front lines) a 21st-century habitat of possibilities and pressures is taking shape — one that demands skills their predecessors forgot or never needed. The art they make can be created, as well as disseminated, faster and more cheaply. But it will also face exponentially more rivals for attention, and many more temptations toward superficiality and sellouts.
READ THE FULL ARTICLE HERE
...Ease of consumption is paralleled by ease of production. The computer is the definitive 21st-century studio, now that do-it-yourself musicians can record professional-sounding tracks onto a laptop in a bedroom. The ubiquitous software ProTools offers endless overdubbing and can put errant musicians back on the beat or tune them up, though it’s not always an improvement when dull robot precision replaces individual quirks.
The cut-and-mix, mashup procedures of hip-hop and disc-jockey culture have only accelerated. Beats from old vinyl discs were foundations of hip-hop back in the 1970s. Now no one needs to track down the physical disc because some aggregator or collector has probably put it online...
READ THE FULL ARTICLE HERE
...And without being able to depend on album sales, musicians’ job descriptions changed. Increasingly it was up to the performers — not their struggling major label if they had one, not the radio stations that had long treated them as disposable — to get themselves noticed. That could mean making silly novelty videos for YouTube, or it could involve what was once considered selling out: placing a song in a commercial, where people could hear it repeatedly (and then track it down online).
Instead of waiting for royalties to trickle in from sales, musicians were happy to get paid upfront for licensing their music to advertisers and to TV and movie soundtracks. A distracted listener was better than none at all.
In the 2010s musicians can look forward to working harder for smaller payoffs. They’re resuming — if they ever really left it behind — their age-old role as troubadours, touring more frequently to make up for disappearing album sales. (Big stars with expiring contracts went independent instead of renewing their major-label commitments, or set up so-called “360 deals” that depend as much on touring and merchandising as on selling albums.)
There are newer demands on them as well: interacting with fans who never had to accept the top-down, broadcast model of the old music business and have come to expect the individualized tone of the Internet. To perform offstage musicians now hone social-networking skills: mastering the blog post, the semi-candid photo, the not too overtly promotional self-promotion, the guarded personal revelation, the clever Tweet. Those with true star ambitions will also have to manage the meta-careers that a little bit of fame now entails, knowing that any time they show their face in public, it can turn up on a photo blog, any interview can be cross-referenced forever, any live performances or television moment might show up on YouTube. The smart ones, like Lady Gaga, already have their costume changes planned.
Musicians and their managers will also be improvising their own routes amid a wilderness of marketing and career strategies...
...One emblematic album for the 2000s was Danger Mouse’s “Grey Album” in 2004, which backed up a cappella raps from Jay-Z’s “Black Album” with finely micro-sliced samples from “The Beatles,” a k a the White Album. All of its sounds, in other words, were recycled; the musicality was in the cleverness of the cut and paste. There was no permission from the Beatles and no official commercial release. The album simply escaped onto the Internet, where it can still be grabbed, earning nothing but good will for the musicians, but ready to play any time.
READ THE FULL ARTICLE HERE
Wednesday, December 30, 2009
DJ Jazzy Jeff uses and speaks about Ableton Live, Sampling, & Technology
Below are DJs using Ableton Live (not DJ Jazzy Jeff):
Wednesday, December 23, 2009
Doubledown Tandino's Christmas Remixed - Last Show of the Year at Scoutlounge - Wednesday, December 23rd - 4-6pm SLT
Wednesday, December 23rd - 4-6pm SLT
Every year during the holidays I do a
"Doubledown Remixes Christmas" tour.
I take old retro holiday/christmas retro classics tunes and remix em Doubledown style.
My final show Doubledown Tandino Holiday Remix show for the year is
Wednesday, December 23rd at Scoutlounge in Second Life
4pm-6pm SLT (7pm-9pm EST)
To tune in, or to arrive in Second Life, goto
http://Scoutlounge.net
SLURL and Audio are both on the Scoutlounge Site
Every year during the holidays I do a
"Doubledown Remixes Christmas" tour.I take old retro holiday/christmas retro classics tunes and remix em Doubledown style.
My final show Doubledown Tandino Holiday Remix show for the year is
Wednesday, December 23rd at Scoutlounge in Second Life
4pm-6pm SLT (7pm-9pm EST)
To tune in, or to arrive in Second Life, goto
http://Scoutlounge.net
SLURL and Audio are both on the Scoutlounge Site
Saturday, May 16, 2009
How to Run a Music Remix Project
I wanted to present this excellent article regarding setting up and running a remix collaboration or contest. This completely applies to Second Life.
---
How to run a Remix Project
A Remix Project is a Great Way to Promote Yourself and Your Music
If you are interested in running remix projects, the following should help you get started and get the most out of your remix project.
Full article by AritstServer.com
Remix Projects
Even if you aren't creating electronic music, running a remix project or simply allowing others to remix your music is a great way to promote your music and yourself as a band/artist. You may feel that your music isn't 'remixable,' but chances are, it is, remixing works across all genres.
There are many ways a remix project can function, but the most common is as follows. You write a song and record it, then you take the separate tracks from the recording and save them as WAV files, or convert them to high bit rate mp3 files. Be sure to not include effects, you'll want to make these files 'dry.' You now have a 'sample pack' which you can zip up w/ a 'ReadMe' file inside that contains copyright info and any rules about the project. Next, you upload the zipped up samples to a Web site, then get ready to do some promotion. After a period of time, you can select a winner, or just let the project play out for years. After the remix project is over, you should keep it online with all the songs. This way the project can continue to serve as a promotional tool for not only you, but also the artists who participate.
Preparing a Song for a Remix Project
While it is possible for people to take a completed/mixed song, lift their own samples from it, and create a remix, this isn't really remixing, it's sampling. In order to 're-mix,' an artist/producer needs access to the raw elements that were used to create the song (or anything else being remixed). The following is some information to help you prepare those raw elements so the remix artists have quality material to work with.
...Planning Your Remix Project:
Before you start, you should have a plan or reason for your remix project. Is this a new release you are promoting? Maybe the launch of a new collective? Possibly you are looking to get B-sides created for a 12in release? Or, maybe you just want to dive in to the whole remix, mashup and sample scene. Whatever the reason, your project may not go anywhere unless you actively promote it and have a plan. Web promotion ideas and methods is a whole different discussion, so we'll leave that out for now.
Before you do the promotion, setup your Remix project page or site. Artists with upgraded accounts at ArtistServer.com can create these in the My Account area of the site, under Music Projects.
This would be a good time to work out the 'terms and conditions' for our project. Be sure to define how the remix artist can use their remix, for example: can they post it online or on P2P networks, can they put it on their own CD, what will the copyright or Creative Commons license be for the remixes. Are there any rules as to how the remixes should be titled (some artists want their name in the song title). Don't try to dictate too much control though, you'll find that having these people promoting their own remixes creates another wave of promotion for you, possibly bigger than the one you created. At ArtistServer, we provide a general set of terms and conditions for you to start with, feel free to modify them how you like.
Once you have your promotion plan, the sample packs, and maybe even some banner ads created for your project, you'll be ready to announce the project on forums, blogs, your site, places that allow news releases posted about independent music, and fliers in your local clubs and appropriate stores. You'll want to include a link to your remix project Web page, so be sure to create your project before printing fliers.
read more | digg story
---
How to run a Remix Project
A Remix Project is a Great Way to Promote Yourself and Your Music
If you are interested in running remix projects, the following should help you get started and get the most out of your remix project.
Full article by AritstServer.com
Remix Projects
Even if you aren't creating electronic music, running a remix project or simply allowing others to remix your music is a great way to promote your music and yourself as a band/artist. You may feel that your music isn't 'remixable,' but chances are, it is, remixing works across all genres.
There are many ways a remix project can function, but the most common is as follows. You write a song and record it, then you take the separate tracks from the recording and save them as WAV files, or convert them to high bit rate mp3 files. Be sure to not include effects, you'll want to make these files 'dry.' You now have a 'sample pack' which you can zip up w/ a 'ReadMe' file inside that contains copyright info and any rules about the project. Next, you upload the zipped up samples to a Web site, then get ready to do some promotion. After a period of time, you can select a winner, or just let the project play out for years. After the remix project is over, you should keep it online with all the songs. This way the project can continue to serve as a promotional tool for not only you, but also the artists who participate.
Preparing a Song for a Remix Project
While it is possible for people to take a completed/mixed song, lift their own samples from it, and create a remix, this isn't really remixing, it's sampling. In order to 're-mix,' an artist/producer needs access to the raw elements that were used to create the song (or anything else being remixed). The following is some information to help you prepare those raw elements so the remix artists have quality material to work with.
...Planning Your Remix Project:
Before you start, you should have a plan or reason for your remix project. Is this a new release you are promoting? Maybe the launch of a new collective? Possibly you are looking to get B-sides created for a 12in release? Or, maybe you just want to dive in to the whole remix, mashup and sample scene. Whatever the reason, your project may not go anywhere unless you actively promote it and have a plan. Web promotion ideas and methods is a whole different discussion, so we'll leave that out for now.
Before you do the promotion, setup your Remix project page or site. Artists with upgraded accounts at ArtistServer.com can create these in the My Account area of the site, under Music Projects.
This would be a good time to work out the 'terms and conditions' for our project. Be sure to define how the remix artist can use their remix, for example: can they post it online or on P2P networks, can they put it on their own CD, what will the copyright or Creative Commons license be for the remixes. Are there any rules as to how the remixes should be titled (some artists want their name in the song title). Don't try to dictate too much control though, you'll find that having these people promoting their own remixes creates another wave of promotion for you, possibly bigger than the one you created. At ArtistServer, we provide a general set of terms and conditions for you to start with, feel free to modify them how you like.
Once you have your promotion plan, the sample packs, and maybe even some banner ads created for your project, you'll be ready to announce the project on forums, blogs, your site, places that allow news releases posted about independent music, and fliers in your local clubs and appropriate stores. You'll want to include a link to your remix project Web page, so be sure to create your project before printing fliers.
read more | digg story
Monday, December 22, 2008
Doubledown Tandino's Holiday Music Experience - December 23rd, 2008 - 2pm-4pm (slt)
December 23rd, 20082pm-4pm (slt)
Doubledown Tandino's
Holiday Music Experience
SLURL to "Jazz-n-Dreams"
http://slurl.com/secondlife/JSP%20Island/90/155/23
Presented by Just Soul Promotions
☮ A unique winter journey incorporating retro holiday classic music although you have never heard these tunes played with the modern Doubledown flare. Sophisticated beats combined with jazztronica, live remixing, & DJ blending will turn these tunes and your holiday into a musical adventure.
Saturday, October 18, 2008
MixMatchMusic Remix Wizard
Casual fans may listen to your music. Loyal fans will engage with it. Engage your fans with the
MixMatchMusic Remix Wizard
Convert casual fans into loyal fans with the MixMatchMusic Remix Wizard. It gives fans the ability to remix, manipulate and become a part of your music…it’s not just for Radiohead and Nine Inch Nails anymore.
The Remix Wizard is a lightweight music mash up widget that any artist with a web or MySpace page can easily download, and that any fan with a fast Internet connection and a browser can use to become one with the music.
Plus it’s completely customizable with your look and feel. And we show your stuff off in our gallery, so it helps fans and other musicians discover your stuff. Sweet.
Friday, June 13, 2008
SpaceJunky on CNN & SLNN + the AcidPlanet Remix Contest
"Real Life/ Second Life band SpaceJunky's involvement [in SL] has resulted in Sony Creative Software's AcidPlanet hosting a remix contest for SpaceJunky's song Gravitational Pull. This is the same remix contest that they have hosted for artists [such as] Madonna, Lenny Kravitz, Nine Inch Nails and Black Eyed Peas."
In the band's unique tradition of involving fans as much as possible, SpaceJunky is asking SL residents to participate in the contest. The winner will have his/her name credited next to the song's remix title. AcidPlanet is offering other prizes as well.
Contestants need to create a remix of Space Junky's song, "Gravitational Pull." According to the AcidPlanet website, contestants don't need to have the Acid software to make the remix, but they suggest doing so because the software is easy to use. Additonally, contestants will need to download loops from the song, which are available on the AcidPlanet website once interest has been registered. After creating the remix, upload the song.
The contest closes on July 11. SpaceJunky will pick their favorite remix as the winner. Other favorite remixes will be broadcast during in-world performances; dates will be announced after the winner is picked.
According to the band's publicist, Bella Dutton, SpaceJunky chose to bring the contest to Second Life because of the band's own success here.
"It would be a good thing for all of Second Life to participate in," Dutton said. "There are a lot of talented people here."
Questions can be addressed via IM or notecard to Bella Dutton. Dutton is also the contact for requests to join the Alphacrew of Space Junky group for the latest news and updates about the band. For more information on Space Junky, visit the band's official web site, spacejunky.com.
The news clip that attracted Sony's attention can be found on cnn.com by clicking this link.
To enter into the remix contest, visit Sony's AcidPlanet Web Site.
---
From www.SLNN.com
Space Junky Shares Real Life Success with Second Life Residents
Delaynie Barbosa (June 11, 2008) writes an article on the group which is mostly promotional info.
----
Check out the latest news on the SpaceJunky HERE
---
On a sidenote, Second Life is becoming a great connection for collaborations and remixes of music. Remix contests are making their way into Second Life more and more.
The first ever music remix contest in SL happened to be the one I arranged, and we ended with an awesome listening party and approximately 10 very cool submissions. Although I like to claim that I created the first ever remix contest in Second Life, there were many many musicians collaborating looong before me.. and they met in Second Life. In fact... my "remix contest" dissolved from a contest when all the contestants agreed to just split the winnings and congratulate everyone. But that was just the simple beginnings. Since then, we've had very cool remix projects from musicians like Lovespirals, Herbie Hancock, and now SpaceJunky. Meanwhile others are doing the remixing, such as Moshang Zhao releasing his album Asian Variations.
Second Life is VERY VERY COOL! I cannot say this enough. Musicians, artistic people, creative people, are coming together in Second Life, and making music together...and in many variable methods. Some are jamming live across the world through ninjam technology, while others are passing compositions back and forth to create final polished works. All this, very cool stuff.
http://www.spacejunkyinsl.blogspot.com/
Thursday, June 12, 2008
5 Websites That Make the RIAA Irrelevant (by RAC)
Coming to you from The Remix Company comes:
5 Websites That Make the RIAA Irrelevant
Jun 11, 2008 in remix from http://theremixcompany.co.uk/?p=118
Here at RAC, we’re all about doing things ourselves, and we decided to share a bit about some methods we recommend. Record labels are scrambling to figure out the next business model, and these sites are giving the power back to the musicians.
* TheSixtyOne - These guys are revolutionizing the way you discover music. It’s an interactive game-like web app that makes listening to new music fun and helps you find your audience. RAC is currently standing strong at NUMBER 1!
* TuneCore - Did you ever wonder how to get your music on itunes? Well, for about 20 bucks you can get it not only on itunes, but amazon, emusic, rhapsody, and many more.
* JamGlue - web-based online remixing
* Reaper - Do you hate Pro-Tools like us? Or do you not want to pay the ridiculous amount for the hardware? Well, there is a nice alternative that was created by the same guy as Winamp 2.91 (the best version to date).
* Beatport - Sure this one is relatively well known, but it’s a fabulous tool for electronic musicians to sell their music and share it with fans.
------
RAC's The61 page is here: http://www.thesixtyone.com/rac/
and many of their music artists also have their own pages on http://www.thesixtyone.com/
5 Websites That Make the RIAA Irrelevant
Jun 11, 2008 in remix from http://theremixcompany.co.uk/?p=118
Here at RAC, we’re all about doing things ourselves, and we decided to share a bit about some methods we recommend. Record labels are scrambling to figure out the next business model, and these sites are giving the power back to the musicians.
* TheSixtyOne - These guys are revolutionizing the way you discover music. It’s an interactive game-like web app that makes listening to new music fun and helps you find your audience. RAC is currently standing strong at NUMBER 1!
* TuneCore - Did you ever wonder how to get your music on itunes? Well, for about 20 bucks you can get it not only on itunes, but amazon, emusic, rhapsody, and many more.
* JamGlue - web-based online remixing
* Reaper - Do you hate Pro-Tools like us? Or do you not want to pay the ridiculous amount for the hardware? Well, there is a nice alternative that was created by the same guy as Winamp 2.91 (the best version to date).
* Beatport - Sure this one is relatively well known, but it’s a fabulous tool for electronic musicians to sell their music and share it with fans.
------
RAC's The61 page is here: http://www.thesixtyone.com/rac/
and many of their music artists also have their own pages on http://www.thesixtyone.com/
Monday, June 9, 2008
New Tunes and Updates on www.TheSixtyOne.com
I uploaded a new tune recently to www.TheSixtyone.Com/Doubledown
"Brushjourney" by Brad Reason
Listen and Bump HERE
Other DD Music news: "On & On vs Film" -My previous upload is a mashup of Erykah Badu vs Aphex Twin and you can check it here
Meanwhile, you'll notice on the61 site, each song has a small link that says "watch" If you click it, it'll play some random video on youtube which is generally unrelated. However, the video attached with my tune "Chameleon" comes with the watch video of Herbie Hancock's classic "ROCKIT"
Saturday, October 20, 2007
Pangaea Island & Herbie Hancock Remix Contest
Your track - and He wants to hear it.
Remixing is just one possibility. Produce and record your own song inspired by Herbie Hancock's music. Take elements from any Hancock track - play or combine them in your own way and show Herbie what it means for you.
With this special remix contest hosted by the renowned Jazz musician Herbie Hancock, Universal Music Germany will launch the new brand Pangaea Island. Hancock's early engagement with new musical forms of expression made him a pioneer in the generation of electronic sound in music. Launched along with Ableton, this contest is intended as jump start of activities which focuses on the musical potential of virtual worlds like Second Life - including its advancement and promotion.
The winner of the contest can expect Abletons "Live 7" program, amounting to 599 USD, and the chance of a follow-up release by Universal Music Germany.
Participation
All you have to do is after you have listen to Herbie Hancock: Send an e-mail to contest@pangaea-island.de.
Afterwards we will send you a link to the piano track of the Song Solitude from Herbie Hancock`s New Album River: The Joni Letters.
Regardless if you use this track for your own creation, or not, there are two possibilities to bring your track into the contest.
A) The first is to upload it at Vudyo (http://www.yudyo.com/) in the "Herbie Hancock Remix Contest Group". This gives you and us the chance to get a first feedback from the audience and other participants.
B) The second opportunity is to send your finished track to contact@pangaea-island.de.
Deadline is the 15.11.2007 / in case of extension the 01.12. 2007.
Monday, September 10, 2007
"Asian Variations" Taichung Launch Party
http://asianvariations.com/blog.htmlPosted by Moshang:
What a great evening the Taichung launch turned out to be! I had more than my usual moments of panic when I had to leave home and couldn’t get my newly made videos to work. The idea was that I would do two sets to frame Viba’s performance, and I had to scramble quickly during the last couple of days to get my first short set together. An emergency re-encoding of the short set did the trick eventually and arrived in the nick of time for the setup.
The evening started out slowly and by the time I went on to do my first set, we had a tiny audience of about 10 close friends. Thankfully, people kept coming in throughout the evening, and we eventually managed to to give away 90 copies of the album at the door as people came in.
I want to say a big thank you to Viba for making the trip down from Taipei with his family - it wouldn’t have been half as much fun without his contribution. Viba eventually did two sets for the enthusiastic audience. A big thanks also to Patrick and Roger of Grooveyard for hosting us (Viba and I will probably be back at Grooveyard in October) - you’ve got to love a venue run by professional musicians; their passion for music shines through! And another thank you to Mark Forman who came with his son Kevin and made a very cool video of the first part of my set - watch it here. I’ve added some pictures from the launch here.
With the success of the Taichung launch, I’m looking forward all the more to the Taipei launch on September 29th. It’s bound to be a great party with performances by Viba, Kou Chou Ching, Chang Jui-chuan and myself.
Wednesday, August 15, 2007
"Asian Variations" by Moshang Zhao - Various Artists, Remixed by Moshang
About the album
The Asian Variations album is a collection of remixes produced by MoShang in his Chinese Chill style of downtempo electronica, melding deeply laid-back beats with Chinese traditional instruments. Some of these remixes were solicited by the original artists, two were done for remix competitions, and in some cases MoShang approached artists directly requesting permission to remix their work. The artists represented on the album are literally from all over the globe; The U.S.A. (Fort Minor, Toao, Lovespirals, Brad Reason), Taiwan (Kou Chou Ching, Chang Jui-chuan, Viba, Andre van Rensburg, MoShang), South Africa (Gordon’s Suitcase), Japan (Akihiko Matsumoto & Chage), Italy (Big Red Devil), and Slovenia (PureH) and for the most part the collaboration with MoShang was via the web. With the exception of Fort Minor and J-pop star, Chage, none of the artists are signed to major labels and all are working hard to be heard.
The Asian Variations album is a collection of remixes produced by MoShang in his Chinese Chill style of downtempo electronica, melding deeply laid-back beats with Chinese traditional instruments. Some of these remixes were solicited by the original artists, two were done for remix competitions, and in some cases MoShang approached artists directly requesting permission to remix their work. The artists represented on the album are literally from all over the globe; The U.S.A. (Fort Minor, Toao, Lovespirals, Brad Reason), Taiwan (Kou Chou Ching, Chang Jui-chuan, Viba, Andre van Rensburg, MoShang), South Africa (Gordon’s Suitcase), Japan (Akihiko Matsumoto & Chage), Italy (Big Red Devil), and Slovenia (PureH) and for the most part the collaboration with MoShang was via the web. With the exception of Fort Minor and J-pop star, Chage, none of the artists are signed to major labels and all are working hard to be heard.
Visit the download page to download the complete album as a .zip file and for the press kit. For recent news and reviews of the album, please visit the blog.
The complete album and all the tracks on it are made available under a Creative Commons Music Sharing License. In short, you are welcome to share these tracks and freely use them for any noncommerical purpose, as long as you give credit to MoShang and the original artists involved.
Monday, April 16, 2007
Doubledown's Second Life Remix Contest - April 2007
PLEASE PASS THIS ON TO POTENTIALLY INTERESTED SECOND LIFE MUSICIANS, MUSIC PRODUCERS, & DJS
Doubledown’s Remix & Reedit Contest
A competition to showcase a re-interpretation of music inspired by exploring & interacting in the world of Second Life held at Menorca: http://slurl.com/secondlife/Menorca/117/127/23/
Deadline for Submissions: April 17th
Showcase & Voting: April 22nd. 12pm slt
===========================================
UPDATED UNFO:
1) You may register to enter the contest by paying the entry fee BEFORE your remix is finished. So you can enter now, and then submit your remix anytime before April 15th.
2) If you would like to participate, but do not want to pay the contest entry fee or be in the competition, you may still submit a remix. Up to 2 non-registered songs may be played at the Menorca listening/voting party.
========================================================
Original Track – Doubledown Tandino: “Cruisin’ ‘Round Second Life”
Download the original track & samples here
The Contest: Donwload the Original Track & Remix Sample Pack. You will have until april 15th, 12am (slt) to remix, rework, & rewire. You may use the sounds provided, add your own sounds, add your own lyrics, electrify it out, or do an acoustic cover. Do anything you’d like; use your creativity and warp the original into a new piece.
(7) Seven Finalists will be selected to have their remixes heard publically. A Live Listening & Voting Party will take place in Menorca on Sunday April 22nd, 2007 @ 12pm. All attending audience members will be given a notecard to place votes for their favorite versions of “Cruisin Round Second Life.”
Prizes: 1st $6000L 2nd $3000L 3rd $2000L
All entrants may have a 4x6 promotional poster up at the event @ Menorca.
How to Enter: After you have made your version of the track, pay the avatar Doubledown Tandino $500L to enter. 100% of the entrance fees will be used to pay the winners and sponsor the contest & event. Send your finished remake in 128kbps MP3 format to DJDoubledown1@aol.com. In the email, please include your avatar name, and you have the option to include a website url, slurl, and real life city.
The MP3 must be titled in this format: Cruisin Round Second Life (your avatar name).MP3
Please only send the email after you have sent the $500L entrance fee.
TIMELINE:
Now until April 15th, 2007 – Download the Remix Pack & Enter Contest
April 15th through April 21st- Contest entrants get narrowed down to 7 finalists.
Sunday April 22nd – 12pm (slt) – 7 Finalists Listening Party, Voting, and Winner’s Prizes given at Menorca: http://slurl.com/secondlife/Menorca/117/127/23/
The Rules: By entering the contest you agree to the following: “Cruisin’ ‘Round Second Life is an original copyrighted music piece by Doubledown Tandino (under RL name Brad Reason). Any reworked track is considered a joint collaboration between Doubledown Tandino and the contest entrant/remixer. You may enter as many times as you'd like provided you pay for each track submission. After the contest, both Doubledown Tandino and the contest entrant/remixer may use the reworked track for any non-profit or promotional purposes. Any other use, along with the terms of use, must first be discussed and approved by both Doubledown Tandino & the remixer. Any distribution of the mp3s must maintain ID3 info to include original title, original artist, and remixer name and version:IE:
Doubledown Tandino – Crusin’ ‘Round Second Life (Joe’s Remix).MP3
If incorporating sounds and samples other than what is provided, you must own the rights to use those sounds or samples. Do not use copyrighted lyrics. All original stuff only.
You must be a Second Life resident to enter.
Any updates or revisions to the contest will be announced here: http://www.djdoubledown.blogspot.com/
Any questions at any time, please
IM in SecondLife: Doubledown Tandino
Email DJDoubledown1@aol.com
Myspace: http://www.myspace.com/djdoubledown
Doubledown’s Remix & Reedit Contest
A competition to showcase a re-interpretation of music inspired by exploring & interacting in the world of Second Life held at Menorca: http://slurl.com/secondlife/Menorca/117/127/23/
Deadline for Submissions: April 17th
Showcase & Voting: April 22nd. 12pm slt
===========================================
UPDATED UNFO:
1) You may register to enter the contest by paying the entry fee BEFORE your remix is finished. So you can enter now, and then submit your remix anytime before April 15th.
2) If you would like to participate, but do not want to pay the contest entry fee or be in the competition, you may still submit a remix. Up to 2 non-registered songs may be played at the Menorca listening/voting party.
========================================================
Original Track – Doubledown Tandino: “Cruisin’ ‘Round Second Life”
Download the original track & samples here
The Contest: Donwload the Original Track & Remix Sample Pack. You will have until april 15th, 12am (slt) to remix, rework, & rewire. You may use the sounds provided, add your own sounds, add your own lyrics, electrify it out, or do an acoustic cover. Do anything you’d like; use your creativity and warp the original into a new piece.
(7) Seven Finalists will be selected to have their remixes heard publically. A Live Listening & Voting Party will take place in Menorca on Sunday April 22nd, 2007 @ 12pm. All attending audience members will be given a notecard to place votes for their favorite versions of “Cruisin Round Second Life.”
Prizes: 1st $6000L 2nd $3000L 3rd $2000L
All entrants may have a 4x6 promotional poster up at the event @ Menorca.
How to Enter: After you have made your version of the track, pay the avatar Doubledown Tandino $500L to enter. 100% of the entrance fees will be used to pay the winners and sponsor the contest & event. Send your finished remake in 128kbps MP3 format to DJDoubledown1@aol.com. In the email, please include your avatar name, and you have the option to include a website url, slurl, and real life city.
The MP3 must be titled in this format: Cruisin Round Second Life (your avatar name).MP3
Please only send the email after you have sent the $500L entrance fee.
TIMELINE:
Now until April 15th, 2007 – Download the Remix Pack & Enter Contest
April 15th through April 21st- Contest entrants get narrowed down to 7 finalists.
Sunday April 22nd – 12pm (slt) – 7 Finalists Listening Party, Voting, and Winner’s Prizes given at Menorca: http://slurl.com/secondlife/Menorca/117/127/23/
The Rules: By entering the contest you agree to the following: “Cruisin’ ‘Round Second Life is an original copyrighted music piece by Doubledown Tandino (under RL name Brad Reason). Any reworked track is considered a joint collaboration between Doubledown Tandino and the contest entrant/remixer. You may enter as many times as you'd like provided you pay for each track submission. After the contest, both Doubledown Tandino and the contest entrant/remixer may use the reworked track for any non-profit or promotional purposes. Any other use, along with the terms of use, must first be discussed and approved by both Doubledown Tandino & the remixer. Any distribution of the mp3s must maintain ID3 info to include original title, original artist, and remixer name and version:IE:
Doubledown Tandino – Crusin’ ‘Round Second Life (Joe’s Remix).MP3
If incorporating sounds and samples other than what is provided, you must own the rights to use those sounds or samples. Do not use copyrighted lyrics. All original stuff only.
You must be a Second Life resident to enter.
Any updates or revisions to the contest will be announced here: http://www.djdoubledown.blogspot.com/
Any questions at any time, please
IM in SecondLife: Doubledown Tandino
Email DJDoubledown1@aol.com
Myspace: http://www.myspace.com/djdoubledown
Friday, March 30, 2007
Doubledown's Remix Contest - Update!!
A few quick updates on the contest:
1) Register into the remix contest:
--BEFORE April 7th and the entry fee is only $200L.
--From April 7th to April 15th the entry fee is $500L.
2) You may register to enter the contest by paying the entry fee BEFORE your remix is finished. So you can enter now, and then submit your remix anytime before April 15th.
3) If you would like to participate, but do not want to pay the contest entry fee or be in the competition, you may still submit a remix. Up to 2 non-registered songs may be played at the Menorca listening/voting party.
All original info/rules on the contest can be viewed HERE
1) Register into the remix contest:
--BEFORE April 7th and the entry fee is only $200L.
--From April 7th to April 15th the entry fee is $500L.
2) You may register to enter the contest by paying the entry fee BEFORE your remix is finished. So you can enter now, and then submit your remix anytime before April 15th.
3) If you would like to participate, but do not want to pay the contest entry fee or be in the competition, you may still submit a remix. Up to 2 non-registered songs may be played at the Menorca listening/voting party.
All original info/rules on the contest can be viewed HERE
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